As weird and sweet and charming as we’ve come to expect any good Korine to be so I enjoyed this one. Cool that they really shot on location in Paris and found that castle in the Scottish Highlands too. So many good handheld sequences at both sites, with colors and colorful characters abounding throughout. Diego Luna rocks it in the first half (and even wears a mask!), Samantha Morton makes for a great Marilyn, and as it turns out Denis…
Charlie and the Great Glass Elevator land in the Bronx.
Expectations exceeded here on what I figured would be a late-stage Cassavetes fill in. Shame on me for doubting, as this had all the distinctive camera work and recurring themes elicited from interpersonal relationships under duress that we’ve seen in previous films.
Loved the familiar bird’s eye shots in the city street scenes and also the POV / low angle stuff from the interiors in that apartment building overlooking yankee…
So it took a minute because the trailer for that Cruella movie somehow lingered & superimposed itself over Michelle Pfeiffer’s character through the 1st act. But that faded, and by the time Isaach De Bankolé arrived on screen I decided yep I’m liking this new one from Azazel Jacobs.
Aside from the great ensemble this was also tightly-written, the dialogue scenes crafted carefully and actors delivering their lines in deliberate fashion. I tend to like that in films. Not necessarily…
A little more. .coming-of-age than expected? As in Rachel Sennott is playing younger here than expected based on what I knew about the plot going in. Or, this was an interesting exercise in separating an actor’s comedic/social media persona from their character in a film. Or I’m just becoming an Old, and lotsa new things feel more coming-of-age than expected.
I did like the comedic elements in the 1st half and by all accounts here at home they got the…
DANCE Y(OUR)SELFS CLEAN.
As good a mantra for our current dilemma as any (along with social distancing + actual cleanliness), and also the appropriate LCD track to open with when making a concert film about band’s fabled show at the Garden in 2011.
This doc took me back and left me radiating with all kinds’a nostalgia and warmth and appreciation for a band so important to my young adult experience. Loved the focus on the Sound or Silver sections of the…
The most alien visual in this movie is Wilford Brimley without the mustache. That and Kurt Russel’s awesome pilot sombrero, which it appears they switched in favor of a more functional walk-around hat in the finale.
Great to revisit this one after many years. In addition to the body horror + his trademark gore prosthetics galore - Carpenter really can compose/cut a scene.